Hwang Hak Sam: Human Stain

Chapter II is delighted to announce the exhibition, ‘Human Stain’, from 9th March to 21st April 2018 in Yeonnam-dong, Seoul. 

When one traces the origin of certain adjectives which contain a subjective expression of appearances or shapes of human and objects, she or he discovers that they often derived from words indicating colors, temperature or some physical traits. This tendency is frequently found not only in Latin language, the root of the Western lingual system, but also in the majority of Asian countries. The common designation of senses human possesses is ‘five senses’; amongst these senses, ‘tactile sensation’ is the only case detected through actual physical contacts. Nerves of skin deliver numerous information received through touch to the brain cortex; for instance, the information includes temperature, properties of matter or the degree of multiple threats. Combined with other details acquired through the optic organs, the message enables human beings to arrive at the stage of cognition. Thus, under an unique structure of human body and organs, the data, such as tactile impression, temperature, and the level of processing, gained from a surface of a particular object instantly evokes specific emotions when it is united with empirical knowledge discerned by the sense of vision. 

In the series of human body sculptures by Hwang Hak Sam, his keen investigation into how five senses and characteristics of colors and surfaces have a sequential effect on the act of appreciating art stands out. In addition to the symbolic meaning of black, Hwang’s roughly manufactured surfaces and distorted full-length or torso figures create an eccentric and grotesque landscape. Also, white layers of the surface sparsely placed on each curve along the outline of a body reduce liveliness of the work, despite some parts revealing a sense of volume. They ultimately play a crucial role of visual indicators notifying that a long time has lapsed since a chain of actions and events occurred. The straightforward and immediate appeal of these elements leads viewers to priorly concentrate on the work’s shape and composition.

Hwang’s sculptures which directly demonstrate exterior influences and forces highly likely happened before, have consistent forms of desperately holding onto their architectural support, or penetrating it. The intriguing factor is that the support not only has a practical function, but also conveys implicit notions and metaphors of Hwang’s practice. As the artist’s explains, the pillars can be interpreted as imperfect and temporary values occasionally appeared in life. A twisted and torn-out figure of a body subtly suggests a portrait of the artist himself and also people of the present era who confront the uncertain future and abnormal life paths caused by holding the immature values.